Wednesday, July 20, 2011

James Emerson at last! on BLOW-UP BLOG!


His Fever is Broken: by James Emerson
    
Ronnie Stants rocked the table as his beer’s foam head burst onto his clenched fist.  He slammed his Budweiser harder than he meant.  A mushroom cloud of bubbles spread around his mug and to the middle of the table leaking through the cracks.  It dripped to the gravel floor.  Pieces of glass shrapnel were still landing ten feet away in good old boys’ spirits.
     “God Damned reckless bastard,” they said.  A few of them stood raising their fists and wiping sweat and tobacco juice from around their mouths.  They gave their wallets to their honeys and told them to buy another fucking round.
     “But, baby, you promised this would be your last,” the ladies said, moaning and groaning. They lived in Alabama.  They married alcoholics.
A sweet looking barmaid grabbed a brown and yellow stained rag and rushed to the rescue.  Swaying her giant hips back and forth to the rhythm of drunk perverts’ eyes scanning her body up and down, she wrung used water from the towel with her hands, grunting and pursing her lips together into a prune shaped mess.  Hoots and hollers.  Catcalls.  She blushed as she bent down to the floor and heard quarters pinging as they zipped into the middle of an empty Folgers’ tip cup.  She said, “Next round’s on the house!”
     The threat of the brawl was dead.  She’d saved the day.  He wanted to thank her.  Ronnie dropped the handle from the glass he’d just destroyed and stuffed a moist five-dollar bill into the girl’s blouse when she stood.  She was taken aback as Ronnie let his eyes linger in the middle of her breasts, which were on full display.  A woman’s property is private as long as she wants it to be, she had no interest in keeping her tits secret.  Slipping into view once every ten minutes as a routine, she needed to make those quarters somehow.  Her busty pair was a pet to the usual drunks stumbling into her dive.  They gave her tips nevertheless.  They were feeding a bitch as if it was their dog, though they valued their German Shepherds more than her.  She had a child, but their dogs had valuable litters.  She smiled at Ronnie and jigged a little with her arms around her neck.  Ronnie let out a primal scream and went for her with his mouth wide open, green teeth jagged from years of bar tiffs.  The sweetheart backed up a little as the stench from Ronnie’s mouth invaded her olfactory and Ronnie said as he grabbed her neck, “You tricking whore!  I just tipped five bucks.  Two hours wages.”
     The table next to Ronnie jumped into action and grabbed his shoulders throwing him to the vomit stained floor.  The four brutes knelt around and swung their arms.  Balled fists tomahawked his face and chest and groin stroking an onslaught of cheers amongst the enthusiastic onlookers.  Drunk or sober, the patrons wanted Ronnie to pay for zapping the color from the beautiful barmaid’s cheeks.  Usually so rosy, her cheeks were porridge gray, but without the sugar.  Sloppy and sagging tear stained cheeks trying to keep courage, but she coughed still struggling for air.  An older gentleman, a beautiful nameless soul, walked up to her with an old rusted skinning knife and said, “Honey, I ain’t ever talked to you, but I’m gonna make this right.”
     He extended his left arm and took the knife’s dull edge to his palm. He slid it back and forth until he saw blood.  It wasn’t a deep cut.  He put the antique knife under his armpit and dabbed the wound with his ring finger.  He pulled her close as emotions were high within the crowd and smeared the crimson juice across her cheeks until they were proud and confident.  One, two, three…seventeen quarters rang across the bar room floor and into her Folgers’ cup.  She went back to work soaking up the wasted beer, but still wheezing.
     Ronnie was black and blue on the floor, but the barmaid’s saviors’ arms were losing speed.  Before long, they tired of him and went back to their Dominoes match.  After all, a ten-dollar bill was on the line and a dead person isn’t fun to bludgeon.  They called on a bartender to clean up the mess.  The bartender signaled the spicy red-cheeked barmaid cleaning the table to take care of him.  She had experience for this type of situation and escaped out the back entrance returning five minutes later with a run-down wheelbarrow covered in blood and hair and teeth.
She pushed it to Ronnie’s side and parked.  The barmaid looked around begging for a partner to help, but there were no volunteers.  The old man who’d cut his hand leaned his head on the bar table and passed out.  The bartender tapped him on his head.  There was no sign except a groan.  The bartender lost his patience and pushed the old man to his back.  He smashed his head and a puddle of blood pooled under his long gray hair.  The bartender mouthed to the barmaid, “He’s next.”
She rolled her eyes as she struggled to put Ronnie in the wheelbarrow.  Her blouse was doused in Ronnie’s red glaze, but she did the job and Ronnie lay crumpled in the well-worked wheelbarrow ready for disposal.  She pushed him to the exit and propped open the door with a chunk of soggy firewood unused from the previous winter.  Behind the old fashioned tavern there was a river and this is where she’d dumped things before, though not necessarily humans.  She rolled to the edge of a steep ravine and tilted the wheelbarrow forward.
It’d rained all day and the ground was muddy and slippery.  In her heels, the beautiful barmaid was in a bad situation.  She leaned the wheelbarrow higher, but Ronnie wasn’t moving.  His jaw was stuck on the edge.  She shook the wheelbarrow.  She jumped up and down and lost her senses until her heel broke and she fell over the edge.
Ronnie was falling with her as she held onto his tie and the last thing the beloved barmaid saw before it all went dark was Ronnie coming at her with his mouth wide open.  She died.  Ronnie didn’t.  He was never dead and she’d sensed a faint heartbeat while she’d moved him into the wheelbarrow declining to save his life.

The next morning a boat filled by white clothed, clean-cut believers rowing their way through morning exercises happened across an unfortunate couple lying on the rocky shores of their Alabaman river.  They paddled to them and found to their surprise one was alive!  The rowers grabbed him and tossed the dead lady to the side rushing to their encampment.  They hoped they could save his life.  Months, weeks, days, whatever the toll, it was a duty manifested by the one they loved.  Always working to out measure their bad deeds, this would be the thing to get them through Heaven’s pearly gates.  A fever, a coma, if only they could save his life, but two weeks later and hope ran thin.  This ensemble of good-hearted communalists reserved a hollow grave and huddled around him.  They meant to put a bullet through his temple as he rested in the bottom of their crude grave only three feet deep.
One man cocked the Colt revolver and some of the spectators closed their eyes holding back sobs, squeezing their hands tight.  Though his heart still thumped, they felt it more merciful to put his misery to an end.  They thought it more fit sending him to the devil and his demons or to the good Lord with His virgins sitting atop His lap.  As the gunman pointed the barrel downward ready to turn the metal glowing orange, he noticed a few beads of sweat glimmering off the man’s forehead.  More started appearing on his stomach and his legs and his arms.  It meant only one thing.  The fever was broken.  One by one, the men started saying, “His fever has broken! His fever has broken?  His fever has broken!”

The stranger’s eyes opened and the group’s cheers sang in unison with a nest of whistling Mockingbirds perched on the branches of a giant Oak.  It was a miracle claimed by Reverend Beat, the last to touch Ronnie Stants’ naked body before his fever had broken in August, Alabama. 

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Monday, July 18, 2011

Francisco Moreno at Oliver Francis Gallery

Kevin Jacobs opened a new gallery in Deep Ellum. The gallery is called The Oliver Francis Gallery and provides a much needed space for experimental artists in Dallas. Representing a New York Bowery pop up space the gallery is situated between an Automotive shop and an odd looking parking lot. A few friends and I visited a mural show last week called, Seven Days in America, by the Texas based artist Francisco Moreno. Apparently the gallery was transformed into a giant series of large murals in only seven days; each mural a headline from the previous day’s paper. The work was excellent and almost unbelievable that it all completed in such a short amount of time. Take a look at the photos and read the press release from the show and let us know what you think.  The photos from the sketchbook Moreno provided are also incredibly interesting. What do you think the murals and sketches are trying to say about the living conditions present in America?

BLOW-UP will be following more openings at Oliver Francis Gallery and will try and provide more notice for their next opening.

The Oliver Francis Gallery

Kevin Jacobs, Gallery Owner








  For artist Francisco Moreno's solo exhibition, Seven Days in America at Oliver Francis, he will work in the space for seven days on a mural covering the entire main exhibition space, interacting with objects within the space like doors, pipes, electrical units and more. Seven Days in America serves the artist as an opportunity to further explore his own daily drawings of national news headlines and events on a larger scale. His series of daily news drawings effectively suspend the viewer with fluid contours and careful figurative gestures, while allowing time for further examination and reflection of the event in hand. Headlines taken from catastrophes caused by the tornados in Missouri to the announcement of Osama bin Laden’s death recall very powerful moments in our lives, beckoning us to relive that initial moment of discovery in a delicate moment. In the show, we see news reports, such as “War Evolves With Drones, Some Tiny as Bugs,” that capture the quiet subtleties in American life that may have been overlooked, but have now been developed into large scale paintings, immersing the audience’s visionary field. Every morning a new headline will be selected to be painted during the installation period.
This engagement with (inter)nationally known reports to regional and relatively unknown news captures a semi-broad look into American culture and society, politics, and everyday life, that translates to the general public, whilst being art historically entangled. Moreno gives a nod to Gerhard Richter and his masterful paintings of the Baader-Meinhof era to On Kawara and the ritual of documentation, though Moreno seems to have found his voice with this large scale project spurred from his notebook drawings. It is his ambition and the irreverence of failure that fuels the overwhelming experience of this installation.
Similarly to his daily notebook drawings, he is taken by the individual and their relation to America. Such is exemplified by his In America… poems. These poems unite and disassemble the relations between man and state. By inviting others to fill in the blank, In America… allows for a session of free associations demonstrating that particular individual’s identity within America. A video projection will show in the back project room sampling entries from Moreno’s In America… poems, provoking reflection upon our own relationship with America.
---
Francisco Moreno (b. 1986 in Mexico City) is a current MFA candidate at the Rhode Island School of Design's Painting Program. He is also a graduate of UT Arlington, with a BFA in Studio Art with a concentration in Painting.
Seven Days in America is the inaugural show at the Oliver Francis Gallery. Oliver Francis Gallery is an independent/artist run experimental art space intended to show current work/projects by local artists and thinkers. Situated minutes away from Deep Ellum, downtown Dallas, and Fair Park, Oliver Francis operates on 1000 square feet and will place a special focus on installation, new media along with performance. The ambition for the space is to provide Dallas with exciting, challenging and progressive art shows used to engage the community and students in the metroplex.
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For more info check out:

http://www.oliverfrancisgallery.com/
The Oliver Francis Gallery
209 S. Peak St.
Dallas, Texas 75226
(817) 879 - 8231
and

Wednesday, July 6, 2011

Ali Akbar: 10 Minutes with the International Artist Before His July 12th Dallas Opening


“The alpha state is a place where we can allow chaos to co-exist with tranquility. Where
color and the absence of color mingle but do not consume one another. “– Ali Akbar
Alpha State© is a collection of Akbar’s work – including several new pieces – born out
of his fascination with the “color” white, how it is derived through light and pigment, and
what it represents. Utilizing texture, shadow, and an "excavation" technique to create
multi-layered surfaces that are reminiscent of landscapes, moonscapes and aquatic
worlds, Akbar’s paintings evoke a sense of both energy and emptiness.
“I excavate my paintings, adding color and effacing, in a long cycle until the work comes
to completion by evolving into what I feel is a solid and existing image, yet at the same
time evokes some absence. To me, the process and result mirror our life cycle in that we
build up an existence, vanish suddenly in death, and yet are fully present for the living
through memory.”

BLOW-UP had the most fortunate opportunity to catch up with the Dallas based international artist Ali Akbar before his next major opening (Alpha State) this next Tuesday July 12th at Steve Paul Productions in Dallas. The busy artist has recently been preparing not only for Alpha State, but another opening in Bangladesh set for fall 2011. I’ve been following Akbar’s work for a couple of years now and his new series showing this next week has definitely taken my fancy. Akbar’s themes mimic movement, space and in some instances a lack of both. Attending art school in Bangladesh at The Dhaka University, Akbar explored his earliest visions of ancient eastern philosophy in his first works. In 1991 he moved to the United States to further his studies at The California Institute of Arts and Crafts. From his experiences living in both hemispheres of the world he has maximized eastern and western philosophies with all due post modern sensibilities applicable to his creations. The result being an art career spanning 26 years. So where do you start when interviewing a professional artist of that caliber? Back to the basics, where does it all come from?

Scott: “I’ve noticed white as the dominant color in your most recent paintings. Are there any special or significant meanings the color white has in the works, or maybe do you see the color white as a dominant force or to highlight voids of color in the works?”

Ali: “White is the color or light, pure energy itself and the color of both interpersonal ideology and spiritual communication”.

Scott: “That’s very interesting, communication. Now is that personal communication with spirituality or is that a specific religious ideology?"

Ali: “No, would say it’s definitely personal/interpersonal communication and spirituality itself other than any specific religious ideology”.

Ali talked more about the power of light in his paintings and his extensive travels in Europe and Paris in particular. Then I told him about the first piece of his I saw two years ago. It was a three dimensional painting called “Newborn” from 2008. The painting sold at the Decorazon Gallery last year and was inspired by an ultra sound the artist had of his young son just before birth. The painting had a three dimensional aspect to it because the middle seemed removed and was seperately displayed next to the original. The concept of “Newborn” spoke for itself and was even more interesting in person. With three dimensionality in mind we continued our conversation.

Scott: “I’ve also noticed the layers upon layers of paint that are faintly exposed and even sometimes highlighted in almost a three dimensional state. You then cover some of them with titanium white and leave other areas original and almost vulnerable. What do you feel the layers of paint say about your work as an artist?”

Ali: “In the past few years I’ve really found myself artistically. I see one of my paintings now and I think, yes that’s me. My paintings are now much more subjective by nature than before and the layers of paint either exposed or covered in white convey the innermost essence of my work as an artist”.

Scott: What else would like to say about your work or your career as an artist?”

Ali: “It’s been a good journey for me. Before my work was very chaotic and now I am a minimalist. It’s been a good journey”.
 
You too can catch international artist Ali Akbar Tuesday July 12th at the, Alpha State opening from 6-9PM at Steve Paul Productions. (2814 Main Street, Dallas TX 75226) For any further questions or inquiries please contact Steve Paul Productions at (214) 742-4082
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Ali Akbar Past Exhibitions
Solo exhibitions: NOT HERE, L'ALLIANCE FRANACAISE (Dhaka, Bangladesh),
GOGON (SKY), Gallery Kaya (Dhaka, Bangladesh), BREATHE IN, BREATHE OUT,
Decorazon Gallery (Dallas, New York), INTO THE VOID, Brazos Gallery, Richland
College (Dallas), HALLWALLS, The Center for Contemporary Art (Dallas), SHANTI,
Expo 825 Gallery (Dallas), H2O, Gallery 21 (Dhaka, Bangladesh), WATER/JAL, Cedar
Valley College (Dallas), RECENT WORKS, Icehouse Gallery (Dallas), NONDINI, Web
Corner Gallery (Dallas), L’ALLIANCE FRANCAISE (Dhaka, Bangladesh)
 

Sunday, July 3, 2011

Slippage: New Opening @ IIII Studio Gallery, Dragon Street


Dallas artist Eric Trich opened IIII Studio Gallery on Dragon Street just over a year ago. Trich had the idea of incorporating the likes of painters, sculptors, conceptual artists and musicians in one nice collective. Now most local art collectives and groups sometimes do this with limited to marginal success but in Trich's case he's paved a way for others to follow with a super cool and successful gallery. How has he done it? It's really simple...Show nothing but the best artists and book nothing but the best bands. If Eric books a band for the space most likely the group played The House of Blues a year ago. In fact HOYOTOHO, one of the biggest local groups playing the Dallas scene hosted their CD release party at IIII Studio Gallery last April. I had recently heard through the grapevine about a great conceptual sculpture show called Slippage and thought I would check it out. Slippage features the work of artists Alfredo Salazar-Caro and Shane Mecklenburger.
The opening was absolutely brilliant. I was so glad I made the drive from Denton to see it. I felt like I was at an early Damien Hirst show in some random British warehouse. The artists were amazing. Technology plays a significant part in these works and is used in several pieces as a central medium. You cannot help but pick up on the sci-fi influence of the work which I also love. Unfortunately, I didn't have a chance to interview both artists but was able to snap a few photos for the blog. Check out the link to IIII Studio Gallery at the end of this post for more information on the show. The work in Slippage is museum quality and I strongly suggest you see it before the show closes.
BLOW-UP

 
Salazar-Caro

Salazar-Caro

Mecklenburger

Salazar-Caro

Salazar-Caro

1111 DRAGON ST.
DALLAS, TX 75207

WWW.1111STUDIOGALLERY.COM

Friday, July 1, 2011

Corey Godfrey's Macaroni Pornography:10 Minutes With the Dallas Artist

                 
photo: Dylan Hollingsworth

The 29 year old German born artist Corey Godfrey made a splash in the placid waters of the Dallas art scene last weekend. The UNT graduate (painting major) has several pieces of her craft on display at the most recent, Forces of Nature opening at Kettle Art Gallery in Deep Ellum.  I had a chance to catch up with Corey after a very packed opening and she enlightened me on everything from art school to the sociological effects of gender stereotyping. Corey’s work is feminine, erotic, folk and beautiful.  Take a look.

Scott: “So I know this is sort of a cliché, high school newspaper kind of question but please tell me exactly what your work is about”.

Corey:  “It came to me as a dream, a dream about macaroni pornography. At the time I started doing it, I really considered it more arts and crafts than anything else”.

Scott: “It always seemed that the art program at UNT is rooted more in tradition than individual creativity. How were you able to make this kind of work in your medium and come out relatively unscathed? Did I just have a bad experience?”

Corey: “I hate that, I always hear about people having a bad art school experience and I feel so bad for them because honestly, the professors I had were a great support and inspiration to me.  I did take some heat though, especially in critiques. People considered me a folk painter, but at the time photorealism was such a popular genre and was the trend to follow. I’ve always found photrealism boring to a certain extent”.

Scott: “Why pornography?”

Corey: “I guess I feel like I’m taking sexual images really for men in these kind of masculine magazines and re-creating them for women again; taking them back to feminine sensibilities. I didn’t realize it until later on…or the further into the series I got”

Scott: “Your pieces at Kettle are desert landscapes. Is there a hidden sexuality in that?”

Corey: “Of course there is. The desert is a very erotic place. Cactus is the phallic that sometimes bloom the most beautiful little flowers thus turning the cactus feminine. I find it all so interesting. It’s also another idea that came to me in a dream. I always think about my dreams; they’re very powerful in my life. All my art is based on dreams”.

Scott: “From looking at your work I can definitely see how the use of yarn on pornographic images feminizes them. It gives the images almost a soft 3D cushion. I cannot help but think of how many hours it must take to actually complete one. Do you get tired just thinking about it?”

Corey: “You know honestly I’m kind of a workaholic. I have to work all the time; I can’t function without work to do. They do take a lot of time to create but I really enjoy the craft of what I do. I enjoy spending my time making art”.





 When you have a chance, stop by Kettle Art Gallery in Deep Ellum to see Corey Godfrey’s work. If you miss her this time be sure and follow THE BLOW-UP blog for updates on her openings as we will be following her closely. I love finding artists like this because Dallas is known for having such a corporate/design based art world and Corey Godfrey is a great example of someone breaking that stigma. Galleries like Kettle, IIII Studio Gallery and Rising Gallery do a great job of showing great art that defies this city’s norm. 
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for more information
Kettle Art | Deep Ellum | 2714 Elm Street | Dallas, TX 75226
http://www.kettleart.com/